Nigger Music

Are you on glue? Death metal and post-hardcore are about as far from nigger music as it gets.

well, count me in then

WE WUZ MUZIC CREATORS

Owl City's only rap song

KILL YOURSELF, YOU STUPID MONGLOID I HATE OWL FUCKING CITY! AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHH

They suck nigger dicks.

I specifically said BRUTAL death metal for a reason. BRUTAL death metal relies on breakdowns and trendy nigger beats. Post-hardcore does the same thing. Traditional death metal is non-nigger.

it's just one man, m8

Ok. well then he sucks nigger dicks. So do you.

It's true, but nigger music has been highly influential on many music genres, not only rock.

I'm not gay, although I'd be willing to suck Owl City's dick if he asked me to

Yeah, like rap and hip hop and…. uh I can't think of anything else

If it incorporates nigger beats, it's not post-hardcore. It's something else.

he sucks more nigger dicks than a whole group could

Nothing gay about that.

post-hardcore is all about funky breakdowns and anger. It's basically the rap version of punk. If you like post-hardcore, you probably wear baggy cargo shorts and support multiculturalism

That doesn't mean they're not the most cancerous race in the whole world, though.

...

I don't know how I could fuck up this badly but it's supposed to be whiquiz*

...

Same shit

oh whi quiz is filtered

Never mind just the word te st is filtered

itt:

WE WUZ KANGZ N SHEIT ALL BLACKS CREATED MODERN MUSIC

post-irony was a mistake

The only nigger that deserves repect. He was a child molester, though.

Yeah, that's what they wanted us to believe.

it's a derivative of both black and white music.

Not really. Most modern nigger music is based on melodic dubs from white music and beats from music created in the 80's and 90's by white people. Nigger's are just a figurehead in the music industry to push the multiculturalism meme.

Could you explain what you mean better?

I don't know what you think post-hardcore is. Could you post an example?

The melodies used in most pop and rap (basically the same thing these days) is based on older music made by whites. The repetitive beats are based on rock that was created decades ago by white people. Blacks didn't create rock, they created jazz music which said "fuck you to classical music". Rock was an answer to that by using classical melodies instead of "bip boppity" nigger music melodies and adopting jazz beats. This is why rock != jazz and why niggers shouldn't be trying to say that rock is a product of jazz.

...

White on the outside, still a nigger on the inside
Your cannot change your genetics, no matter how hard you may try

that's where your wrong. Rock had a lot of black influence especially in it's earlier days

How do we solve the nigger problem if we can't change their genetics?

*you're

There is no need to apply an apostrophe and "s" to "it" unless you are trying to say "it is X".

Not really. Some mainstream bands in the 60's and 70's totally jumped on the nigger bandwagon, like Led Zeppelin for example. But most 70's bands took a more progressive rock stance and took a melody and built on it, like classical music did (classical music was created by whites btw). You can see this in bands like Jethro Tull, King Crimson, Black Sabbath etc…

It's simple, we send them back

pretty much all the modern music types are based on afro blues and derivatives of afro blue genres. There can be no denial about this fact. Niggers are useless for pretty much anything in society but in music and entertainment, they really excel. even the edgyptians noticed this 5000 years ago

who's to say something that sounds just like rock n roll wouldn't've evolved anyway?

The white man's biggest mistake is importing so many niggers into the americas back in the day.

jews imported slaves to the US.

this

guess he's a nigger lover all along

Even Moonman has rap beats. I'm all for taking black music and making it great again!

Doesn't really disprove my point though. Even if hip-hop was based off of prog rock (which I don't think it was. It was based off another branch of rock), it still originated from rock, which had black roots.
Rock was also influenced by classical music too though which is white as you said.

This is where you retards fail to form an argument. Is moonman's lyrics based? Yes. Is it Nigger music? Yes. Moonman was meant to be satire, yet you fucking idiot millennials treat it like it's some sort of savior. Moonman is a statement to get rid of kikes, it's not an actual entity that you should worship.

Old nigger music is pretty sweet. One nigger with a guitar singing into a tin can could produce better music than any multi-billion dollar record label out there today.

dj shadow, a white dude, put together one of the most "critically acclaimed" hip-hop albums, and he's white. friendly reminder: eminem. most rap artists split up because they don't get along, or some other niggershit. even snoop dogg et al put out 1-2 good albums, and nothing else.

youtube.com/watch?v=PlD84j7DcJU

ITT: Jews trying to be white and (((COOL))) by listening to nigger music sampled from the white man's sweat. Fucking hell, even the jews tried to inter-marry music with nig-nogs in the seventies and eighties. It worked for a bit but the kikes got greedy and saw it as a platform for propoganda so they removed themselves to producer level and pulled the strings from thereon.

that never even came across my mind, guess someone is projecting.
Also
im not sure where u found this, not mine, plz learn to reply to user properly
sorry, i have no counter-argument, its 5 am here and i have class in 5 hours, need to get some sleep, goodnight user.

en.wikipedia.org/wiki/Sarabande#History
'The dance may have been of Mexican origin evolved from a Spanish dance with Arab influences, danced with a lively double line of couples with castanets.[1] A dance called zarabanda is first mentioned in 1539 in Central America in the poem Vida y tiempo de Maricastaña, written in Panama by Fernando de Guzmán Mejía.[2][3] The dance seems to have been especially popular in the 16th and 17th centuries, initially in the Spanish colonies, before moving across the Atlantic to Spain.

The Jesuit priest Juan de Mariana thought it indecent, describing it in his Tratato contra los juegos públicos (Treatise Against Public Amusements, 1609) as "a dance and song so loose in its words and so ugly in its motions that it is enough to excite bad emotions in even very decent people".[4] A character in a Miguel de Cervantes farce alluded to the dance's notoriety by saying that hell was its "birthplace and breeding place."[5] It was banned in Spain in 1583 but still performed, even by clerics during the mass and frequently cited in literature of the period (for instance, by Lope de Vega).[2]

It spread to Italy in the 17th century, and to France, where it became a slow court dance.[4]

Baroque musicians of the 18th century wrote suites of dance music written in binary form that typically included a sarabande as the third of four movements. It was often paired with and followed by a jig or gigue.[6] Johann Sebastian Bach sometimes gave the sarabande a privileged place in his music, even outside the context of dance suites; in particular, the theme and climactic 25th variation from his Goldberg Variations are both sarabandes.

The anonymous harmonic sequence known as La Folia appears in pieces of various types, mainly dances, by dozens of composers from the time of Mudarra (1546) and Corelli through to the present day.[7] The theme of the fourth-movement Sarabande of Handel's Keyboard suite in D minor (HWV 437) for harpsichord, one of these many pieces, is featured prominently in the film Barry Lyndon[8] as well as the BBC documentary, Auschwitz: The Nazis and the Final Solution.'

Free Mexican Blacks were among the original performers of Sarabandes. That makes
en.wikipedia.org/wiki/Baroque_music
a black invention, like jazz.

'Concerning music theory, the more widespread use of figured bass (also known as thorough bass) represents the developing importance of harmony as the linear underpinnings of polyphony.[10] Harmony is the end result of counterpoint, and figured bass is a visual representation of those harmonies commonly employed in musical performance. With figured bass, numbers, accidentals or symbols were placed above the bassline that was read by keyboard instrument players such as harpsichord players or pipe organists (or lutenists). The numbers, accidentals or symbols indicated to the keyboard player what intervals she should play above each bass note. The keyboard player would improvise a chord voicing for each bass note.[11] Composers began concerning themselves with harmonic progressions,[12] and also employed the tritone, perceived as an unstable interval,[13] to create dissonance (it was used in the dominant seventh chord and the diminished chord. An interest in harmony had also existed among certain composers in the Renaissance, notably Carlo Gesualdo;[14] However, the use of harmony directed towards tonality (a focus on a musical key that becomes the "home note" of a piece), rather than modality, marks the shift from the Renaissance into the Baroque period.[15] This led to the idea that certain sequences of chords, rather than just notes, could provide a sense of closure at the end of a piece—one of the fundamental ideas that became known as tonality.[citation needed]

By incorporating these new aspects of composition, Claudio Monteverdi furthered the transition from the Renaissance style of music to that of the Baroque period. He developed two individual styles of composition – the heritage of Renaissance polyphony (prima pratica) and the new basso continuo technique of the Baroque (seconda pratica). With basso continuo, a small group of musicians would play the bassline and the chords which formed the accompaniment for a melody. The basso continuo group would typically use one or more keyboard players and a lute player who would play the bassline and improvise the chords and several bass instruments (e.g., bass viol, cello, double bass) which would play the bassline. With the writing of the operas L'Orfeo and L'incoronazione di Poppea among others, Monteverdi brought considerable attention to this new genre.[16]'

Note the similarity to rock music.

You'd have to be an idiot to agree with this. Jews subversion was going on way before this, they didn't just notice it back in the 70's. They noticed it back when humans decided to record human history. Stop pretending that the jews just appeared suddenly and started oppressing people. The have been doing it for centuries and centuries.

Examples?

.,..In music they are more generally gifted than the whites with accurate ears for tune and time, and they have been found capable of imagining a small catch.
Whether they will be equal to the composition of a more extensive run of melody, or of complicated harmony, is yet to be proved. Misery is often the parent of the most affecting touches in poetry. Among the blacks is misery enough, God knows, but no poetry.

- Thomas Jefferson

dvoraknyc.org/dvorak-in-america/
'Mid-December, 1892 - May, 1893 – Begins work on "American themes"; completes score of "New World" Symphony. New York Herald quotes Dvořák's famous statement, "In the Negro melodies of America I discover all that is needed for a great and noble school of music." Dvořák's "curious" theory also sets European musical world abuzz.'

...

And live

For comparison, one of our bets whites trying to play the same song, with a Fender. Not even fuckin close. Nigger guitar is second to none.

Never ever made that point. Simply pointing out an obvious fact and your views agree with such.

You're looking at it.

FWIW Jefferson was a degenerate with a fetish for sheboons, so that probably factored into his thinking.

He wrote at great length of all the ways in which niggers are inferior, even taking downs celebrated niggers of his era for being "below the dignity of criticism." That little blurb about music is the only positive remark in the entire essay.